IKIRU

Written by
Shinobu Hashimoto &
Akira Kurosawa &
Hideo Oguni

Translated by
Donald Richie

Converted to PDF by mypdfscripts.com

Titles white on black; slow, rather melancholy music; then, a

close-up of an X-ray negative while a voice is heard
explaining.
NARRATOR
(Off)
This is an X-ray picture of a
stomach; it belongs to the man this
story is about. Symptoms of cancer
are there but he doesnt yet know
anything about it.
Cut to the City Hall, the desk
the Citizens Section. He sits
papers and is busy putting his
Then he stops and looks at his

of KANJI WATANABE, Chief of

behind a desk piled high with
seal to various documents.
watch.

Cut to the front office, the information desk; a number of

WOMEN are talking with SAKEI, the Section Clerk. On the desk
in the notice: THIS WINDOW IS FOR YOU. IT IS YOUR LINK WITH
THE CITY HALL. WE WELCOME BOTH REQUESTS AND COMPLAINTS.
WOMEN
And my child got a rash from that
water...It smells bad too...There
are millions of mosquitos...Why
cant you do something with the
land? It would make a good
playground.
SAKEI excuses himself and goes to WATANABEs desk, telling
him that some petitioners from Kuroe-cho are there. WATANABE
tells him to send them to the Public Works Section, then
looks at his watch again.
NARRATOR
(Off)
This is the main character of our
story, but hes not very
interesting yet. Hes just passing
the time, wasting it, rather. It
would be difficult to say that he
is really alive.
WATANABE suddenly looks up at the sound of laughter.
Cut to the office where everyone is looking at the officegirl TOYO, who has suddenly broken into laughter. ONO, the
assistant chief, speaks sharply to her, telling her to please
watch her behavior during working hours.
Cut back to WATANABE, who takes off his glasses.

2.

TOYO
But it was funny.
ONO
What was?
TOYO
This joke that someone passed
around.
ONO
Read it then.
Cut to TOYO standing up. She hesitates, then begins to read
from a newspaper clipping.
TOYO
(Reading)
Youve never had a day off, have
you? No. Why?! Are you
indispensable? No, I just want them
to find out they can do without me.
She laughs, but no one else does.
Cut to WATANABE, who has been listening. Now he puts his
glasses on again and goes back to stamping papers.
NARRATOR
(Off)
This is pretty bad. He is like a
corpse, and actually has been dead
for the past twenty-five years.
Before that he had some life in
him. He even tried to work.
WATANABE wants to clean his seal and is looking for some
paper. He opens a desk drawer full of old documents. The top
one reads: A PLAN TO INCREASE OFFICE EFFICIENCY. He tears
off the first page, cleans his seal, throws the paper into
the basket and goes on stamping, while the NARRATOR continues
off.
NARRATOR (CONTD)
(Off)
But now he neither tries nor even
wants to. His ambitions have been
well smothered by City Hall. But,
hes busy - oh, very busy. Still,
he is doing little. He has to keep
busy simply to stay where he is. Is
this as it should be?

3.
WATANABE seems to feel uncomfortable; he takes his tablets
and drinks some water.
NARRATOR (CONTD)
(Off)
But before he begins to think
seriously, his stomach must get
worse and more useless hours must
accumulate.
Cut to the women from Kuroe-cho arriving at the office of the
Public Works Section, where the CLERK in charge says that he
is sorry, but this matter comes under the authority of the
Parks Section.
Wipe to the Parks Section, where the CLERK is telling them
that the matter seems to be concerned with sanitation, hence
they had better go to the Health Center.
Dissolve to the center, where they are told that the
Sanitation Section will take care of them; a lively fugue is
built under these scenes, based on a motif from the opening
music.
Wipe to the Sanitation Section, where they are told to go to
the Environmental Health Section.
Wipe to that section, where they are told they must to the
Anti-Epidemics Office.
Wipe to that office, where a CLERK, hearing it is about
mosquitos, directs them to the Pest Control Section.
Wipe to that section, where a CLERK swats a fly before
directing them to the Sewage Section.
Wipe to the Sewage Section, where a CLERK says that theirs
was indeed formerly a sewage area but that a road ran over
it, so, unless the Road Section approves...
Wipe to the Road Section, where they are told that since the
City Planning Departments policy is not yet established,
they had best go there first.
Wipe to the Planning Department, where they learn that the
Fire Department had wanted the section reclaimed because of
such poor water facilities, so they had better go there.
Wipe to the Fire Department, where the CLERK says that it is
nonsense, they do not want dirty water, it would ruin their
hoses. Now, if they had a swimming pool or something there,
then the Fire Department might be interested.

4.
Wipe to the Childrens Welfare Officer at the Educational
Section, who tells them that such a big problem as this
should be taken up with the CITY COUNCILLOR.
Wipe to the COUNCILLORs office. He is saying that he will
give his personal introduction to the DEPUTY MAYOR.
Wipe to the office of that official, who is saying that he is
truly happy when citizens take it upon themselves to make
suggestions, and for that reason they have established a
special Citizens Section.
Wipe back to the Citizens Section. SAKEI is again at the
desk and does not remember them; he tells them to go to the
Public Works Section. The WOMEN became angry.
WOMEN
What do you think we are anyway?
What does his sign here mean? Isnt
it your sections responsibility?
Dont worry, we wont bother you
again...
They start to leave. After a moments hesitation, he runs
after them and catches them at the door.
SAKEI
Just a moment, please. Im sorry.
You see, our Section Chief is out
today. If you could possibly just
submit a written petition.
All the staff stand up to watch the WOMEN go.
Quick shot of WATANABEs empty desk.
Dissolve to the office. Two of the staff are eating their
lunch and drinking tea as they talk, back to camera.
SAITO
It is certainly unusual for him to
be out.
ONO
Well, he hasnt been looking too
well lately.
SAITO
Yes, but it wouldnt be good if he
stays out too long.

5.
ONO
Funny, though. Certainly he
wouldnt take sick-leave just for a
cold. Besides, I need his seal.
Cut to another part of the office. Two other members of the
staff are eating their lunch while they talk.
KUMURA
Its too bad though. Another month
and hed have had thirty years
without one day off.
OHARA
Yes, but you notice that now hes
away, certain people seem a lot
happier. Well, everyone wants to
get on in the world.
Cut to another part of the office where they are also having
lunch.
SAKEI
Wonder what that medicine is hes
always taking.
TOYO
Something for his stomach. And
lately he hasnt been eating his
noodles for lunch.
NOGUCHI
Thats another record. Ive never
seen him eat anything else.
SAKEI
I wonder who the new Chief will be.
TOYO
Whats the hurry? You have a long
way to go.
Cut to a long shot of ONO and SAITO. They have heard TOYOs
remark and look up, startled. ONO is assistant chief.
Cut to WATANABEs empty desk.
Cut to WATANABE walking down a hospital corridor.
Dissolve to WATANABE at the hospital drinking-fountain, in
the waiting room. WATANABE is trying to get a drink of water,
but a man gets there before him. WATANABE waits, then drinks
and then looks at himself in the mirror.

6.
Cut to WATANABE sitting down. Another MAN a few chairs away
comes and sits next to him.
MAN
Stomach troubles, eh? Me, Ive got
something chronic. Lately its got
so that I just dont feel right
unless my stomach hurts.
A NURSE calls his name and the man, the same one that drank
before WATANABE did, gets up and goes into the office.
MAN (CONTD)
Now, that fellow there. They say
its ulcers, but I think its
cancer. And having cancer is the
same as having a death sentence.
But the doctors here always tell
you its ulcers, that an
operations unnecessary. They tell
you to go on and eat anything - and
when you hear that, you know youve
got a year left, at the most. Your
stomach always feels heavy, and it
hurts; you belch a lot and youre
always thirsty; either youre
constipated or else you have
diarrhea, and in either case, your
stool is always black.
WATANABE is feeling more and more uncomfortable. Quiet
sinister music. He changes seats, but the MAN follows him.
Shot of WATANABE becoming more and more uncomfortable.
MAN (CONTD)
And you wont be able to eat meat,
or anything you really like, then
youll vomit up something you ate a
week ago; and when that happens,
you have about three months left to
live.
Cut to a long shot of WATANABE alone in the waiting room. The
slow and melancholy music of the opening is heard. He is
small in the distance, almost lost in the large waiting room.
A NURSE suddenly calls his name; she calls it several time
because he does not hear. He finally hears and rises. The
music fades.
Cut to the X-ray room; two DOCTORS and a NURSE are waiting.
Cut to WATANABE entering, then a shot of their faces as they
wait for him to sit down.

7.
Quick close-up of the DOCTORs face, then WATANABEs.
DOCTOR
Yes, please sit down. Well, it
looks as though you have a light
case of ulcers.
Cut to WATANABEs hands. He drops the coat he is carrying.
The music begins again.
Cut to their faces.
WATANABE
Be honest with me. Tell me the
truth. Tell me its cancer.
The DOCTORS faces; the NURSEs face; the back of the young
DOCTORs head - he is looking at the X-ray picture. She picks
up WATANABEs coat.
DOCTOR
Not at all. Its just a light case
of ulcers, as I said.
WATANABE
Is an operation impossible?
DOCTOR
Its unnecessary. Medicine will fix
you up.
WATANABE
But what shall I eat?
DOCTOR
Anything you like, so long as its
digestible.
Cut to WATANABE. Hearing this he lowers his head so that it
almost touches the desk.
Wipe back to the doctors.
YOUNGER DOCTOR
Will he last a year?
OLDER DOCTOR
No, six months at the most. What
would you do if you only had half a
year left to live? Miss Aihara,
what would you do?

8.
NURSE
Well, theres some poison there on
the shelf.
The YOUNGER DOCTOR turns back to look at the X-ray negative.
Close-up of the negative, the sound of the buzzing of the Xray machine is heard.
Cut to the street: trucks, cars, WATANABE walking, but all
without sound. When he tries to cross the street, a truck
races past and there is a sudden burst of sound. The traffic
streams in front of WATANABE and he, small, on the opposite
side of the street, cannot cross.
Wipe to the front of WATANABEs house at night. The camera
slowly moves towards the front door. The sound of walking and
of someone humming the song Too Young, then the voices of
WATANABEs son, MITSUO, and his daughter-in-law, KAZUE.
KAZUE
Theres no lights on - power gone
off again, I wonder?
MITSUO
No, the neighbors lights are on.
KAZUE
Thats funny. Is your father out, I
wonder? Wheres the key?
MITSUO
Its in your bag.
The camera has moved towards the door.
Cut from an extremely close-up of part of the door to the
hallway from the inside. The two of them open the door and
come in.
KAZUE
It was open. Did that maid forget
to lock up? Really, that woman
forgets everything.
MITSUO
She lives so far away, thats why.
It takes her so long to get home
that she forgets about everything
else.
KAZUE
It wouldnt cost that much more to
have her live in.

9.
MITSUO
You know father. Hed never hear of
it. Always the minor official.
Cut to the corner of the hallway. They are moving through the
dark to the bottom of the stairs.
KAZUE
Its just as cold inside as it is
outside - thats whats wrong with
Japanese houses.
MITSUO
I always hate coming home. It would
be nice to have a modern house.
Cut to the two of them on the stairs.
KAZUE
Well, we could build one for about
five hundred thousand yen, couldnt
we? Though we might have to use
your fathers retirement pay.
MITSUO
Hell get about seven hundred
thousand, and a monthly pension
too. And hes got about a hundred
thousand saved up.
KAZUE
But do you think hell agree?
Cut to the darkened upstairs rooms.
MITSUO
Well, hell just have to live by
himself if he doesnt. That will
probably be the most effective way.
After all, he cant take his money
with him.
KAZUE laughs. MITSUO finds the light and turns it on.
WATANABE is at his feet, he has been sitting there in the
dark.
Cut to WATANABEs face.
Cut to MITSUOs face.
MITSUO (CONTD)
Father, whats the matter?

10.
WATANABE
(In despair)
Oh, nothing; nothing at all.
He stands up, confused, then goes downstairs to his own room.
Cut to MITSUO and his wife looking at each other. She begins
to turn on more lights.
KAZUE
But he heard everything we said.
Really that was very rude of him.
And he shouldnt have come up here,
not while we were away. I call that
very impolite.
MITSUO
Why didnt he say what he wanted
to? Why did he run away like that?
Cut to WATANABE in his darkened room downstairs. He turns on
the light. Pan with him as he goes to a smalls shrine in the
corner of the room and opens it.
Cut to MITSUO upstairs; he is lying on his bed, and KAZUE is
making him move to take off the bedspread. He looks at her,
and she comes and sits on the bed. She then lies down beside
him.
KAZUE
Dont look like that. Lets just
forget about your father and think
a little more about us.
The have turned on the radio and from it comes Too Young.
She turns towards him, hugs him and tells him to hold her.
Cut to WATANABEs room. He is sitting before the open shrine.
Cut to the small shrine and to the photograph of his dead
wife inside it.
Close-up of the picture.
Close-up of WATANABE looking at it.
Big close-up of the picture.
Dissolve to a motor-hearse, seen through the rain-flecked
windscreen of a following car. The sound of windscreen
wipers.

11.
Cut to the backseat: WATANABE, KIICHI, his brother, TATSU,
his sister-in-law (all much younger), and MITSUO, as a chid,
are going to a funeral.
TATSU
And she was so young, too - oh, but
it must have been hard for her to
leave her little boy behind.
KIICHI
Stop crying.
Cut to the hearse ahead, turning a corner.
Cut to the little boy, MITSUO.
Cut to the hearse again, then back to MITSUO; the melancholy
music of the opening is head. (The hearse is always seen
through the windscreen, its image cut by the wipers.)
MITSUO
We have to hurry. Mother is leaving
us behind.
Cut to the back seat. WATANABE is holding his son, tears in
his eyes.
Cut back to WATANABEs room. From above comes the sound of
the song as well as MITSUO and KAZUEs muffled laughter. He
looks up to where the sound is coming from. They seem to be
making love.
Cut to another room, where WATANABE and KIICHI, his brother,
are talking. Both men are much younger.
KIICHI
You say you cant get married again
because of Mitsuo, but just wait.
When he grows up, hes not going to
be all that grateful; after he gets
married himself, youll just be in
the way. And that is why you ought
to get married again now. My wife
says that youre naturally sloppy
and she says she cant stand the
idea of you living all alone and
getting more that way.
WATANABE has been absently turning the pages of a book while
his brother has been talking. Now, however, he hears his son
calling him.
Cut back to his room. Again he hears the voice, stands up,
walks to the stairs, and starts going up them.

12.
Cut from the top of the stairs. WATANABE is half-way up when
MITSUOs voice continues, off.
MITSUO
(Off)
Good night. And lock up, will you?
WATANABE stops, then rests his head against a step, then
starts back down into the darkness whispering Mitsuo.
Cut to the hallway. He slowly crosses it and locks the front
door. Then from the corner, he takes a baseball bat and jams
it tight, as is apparently his habit, against one of the
sliding doors so that it cannot be opened from the outside.
Cut to a close-up of the baseball bat; at the same time, the
sound of a ball being hit; the roar of a crowd; the opening
music, soft under the sound of the crowd.
Cut to WATANABE excitedly watching a baseball game. He turns
to the MAN next to him.
WATANABE
Mitsuo! Wasnt that a wonderful
hit? See that? That batter is my Cut to the baseball game, flashpan of the young MITSUO
running to the home plate.
Cut to WATANABE, who again shouts his sons name. Flashpan to
the ball game. Something has gone wrong.
Cut to WATANABE and the MAN.
MAN
Whats that guy think hes doing
anyway?
Cut to WATANABE in his room, sitting down, the camera
descending with him.
Cut to WATANABE at the ball game, sitting down, the camera
descending with him.
Cut to WATANABE and MITSUO, the latter on a stretcher, in a
hospital elevator going up, the camera ascending with them.
WATANABE
You be brave now, Mitsuo; after
all, a little appendix operation
isnt anything at all.
MITSUO
But, arent you going to stay?

13.
WATANABE
I...I have some things to do.
The elevator door opens and the boy is wheeled out.
WATANABEs voice is heard repeating his sons name over and
over again, as throughout the following scenes, the music
rises.
Cut to the hallway. He is still standing there, repeating his
sons name to himself.
Cut to a railway station. It is wartime; the students have
been mobilized and are being sent off. Hundreds of people are
there: fathers, mothers, brothers, sisters, all waving flags
and throwing streamers.
Cut to MITSUO, now older, in his uniform. He is looking at
his father, he calls his name and is very near to tears; he
steps down from the train. The train starts; his father
pushes him back onto it; he turns towards his father,
searching for his face as the train pulls away. All of this
time, the voice of WATANABE can be heard calling over,
Mitsuo, Mitsuo, Mitsuo.
Long dissolve from the boys face to WATANABE in the hall. He
starts to go up the stairs, but stops half-way.
Dissolve to his room. He hangs up his kimono; puts his
trousers under the pallet to press them, winds his pocket
watch and puts it on the table, reaches for the alarm clock
and begins to wind, then drops it. All of this is obviously
done by force of habit. Then he suddenly stops. He does not
move; the seconds pass; then, without warning, he turns and
crawls under the covers. He seems afraid and pulls the covers
over his head. He begins to weep.
A wide shot of the room. Over the huddled WATANABE are two
framed letters on the wall.
Cut to a close-up of one of them which reads: LETTER OF
COMMENDATION. MR. KANJI WATANABE IS HEREBY GIVEN RECOGNITION
FOR HIS TWENTY-FIVE YEARS OF DEVOTED SERVICE. The sound of
weeping continues.
Cut to the hallway of the house. It is daytime. SAKEI, the
clerk in WATANABEs office, is at the door talking to the
MAID.
MAID
But he always leaves for work at
the same time.

14.
SAKEI
Huh? He hasnt been to the office
for five days, hasnt even sent in
an absence report. I was told to
come and see what had happened.
She goes into the house to call KAZUE.
Wipe to a telephone box. KAZUE is inside talking.
Cut to an office. MITSUO is on the telephone and we hear
their conversation.
MITSUO
I cant believe it.
KAZUE
But it must be true, that man from
his office said so.
MITSUO
But what could he be doing?
Cut to WATANABEs office. The others are talking.
Long shot of his empty desk.
SAKEI
Its true, and his family was
really surprised.
TOYO
But this is awful.
ONO
Well, I can make all the decisions,
of course, so long as hes not
here.
TOYO
But you have to go and get his seal
so that I can leave.
ONO
You mean youre resigning?
Cut to a close-up of TOYO.
TOYO
Yes - this work doesnt suit me.
Wipe to KIICHIs house. MITSUO is there. They are eating
dinner.

15.
MITSUO
And hes taken fifty thousand yen
out of the bank, too.
KIICHI
You dont say...Well, maybe hes
found himself a girl. Good for him
if he has.
TATSU
Now, now...
MITSUO
But thats impossible.
KIICHI
Not at all. Its men like him who
fall the hardest. Look, hes been a
widower for some twenty years now.
And he did it all for you, too. Now
he cant stand it any longer and so
he goes out and finds someone for
himself.
MITSUO
Thats nonsense - why, he doesnt
look well at all. Hes so thin, and
his skins got so dry. Have you
seen him recently?
TATSU
Yes, about four days ago. One
morning he came over, seemed to
want to talk about something. But
you know how my husband is. He just
looked at him and asked if hed
come for a loan.
KIICHI
I didnt think then that hed come
wanting to talk about some woman,
not looking like that.
TATSU
Now, now. My husband, you see,
thinks that all men are as bad as
he is. Still, Mitsuo, are you
certain that something didnt
happen over at your house?
MITSUO
No, not that I know of.
But he is evasive and will not look at his aunt and uncle.

16.
Cut to a railway crossing. It is evening, almost dark.
Cut to a black dog, hunting for food in the dark.
Cut to a small drinking-stall. Inside, a man is at a table
writing. He finishes a page and turns to the STALL-KEEPER.
WRITER
Would you take this over to my
house? And on the way back get me
some sleeping tablets.
KEEEPER
But the chemists closed.
WRITER
Is it that late?
KEEEPER
The shops close early round here.
WRITER
If I dont have those pills with my
whiskey, I just dont sleep.
He hands the page to the STALL-KEEPER, crumpling the rest of
the manuscript in his hand.
Cut to WATANABE over in a dark corner; he is hardly visible.
He gets up and comes over towards the WRITER.
WATANABE
Excuse me, but I can let you have
some.
He puts the bottle of pills on the counter in front of the
WRITER, then goes back to his table. The STALL-KEEPER goes
out and the black dog lopes in.
WRITER
Thanks, may I have them at the
official price?
WATANABE
Oh, I was planning to throw them
away anyway.
WRITER
Then let me pay for your drinks.
Youre a heavy drinker, arent you?
Here, let me give you a bit more.

17.
WATANABE
No, I cant...Id just throw it all
up. I have gastric cancer.
WRITER
(Concerned)
Cancer?
WATANABE
Yes.
WRITER
Then you shouldn't drink like this.
He puts his hand on WATANABEs shoulder.
WATANABE
I dont really want to talk about
it...
WRITER
But to drink, knowing that you have
cancer...its like committing
suicide.
Cut to the WRITER looking at him.
Cut to WATANABE.
WATANABE
No, its not that easy. Id thought
of ending it all, but its hard to
die. And I cant die just yet. I
dont know what Ive been living
for all these years.
Cut to the WRITER.
WRITER
Do you have any children?
He receives no answer.
WRITER (CONTD)
Well, does your stomach hurt?
Cut to WATANABE.
WATANABE
More than my stomach, its...
He presses his chest.

18.
WRITER
But there must be some reason for
all this.
A shot of both of them.
WATANABE
No, Im just a stupid fool, thats
all.
He pours himself a cup of sak and drinks it.
WATANABE (CONTD)
Im...well, Im angry with myself.
Up until a few days ago, Id never
spent anything on drinking. It was
only after I found that I didnt
have much longer to live that I...
He pours himself another cup of sak.
WRITER
I understand, but you still
shouldnt drink. Does it taste
good?
WATANABE
No, it doesnt.
He puts down his cup.
WATANABE (CONTD)
But it makes me forget. Im
drinking this expensive sak now
because...well, because I never did
before. Its like drinking poison.
I mean, it seems like poison, yet
its so soothing.
He smiles.
WRITER
I know what you mean.
This is some food on the table which WATANABE has not eaten.
He sees the dog, drops the food on the floor and the dog
bolts it down.
Cut back to the two men.
WATANABE
I have about fifty thousand yen
with me. Id like to spend it
having a really good time.
(MORE)

19.
WATANABE (CONT'D)
But, and Im ashamed to admit it, I
dont know how to. If you would...
WRITER
Are you asking me to spend it, to
show you how?
A train passes very near, shaking the stall and making the
bottles rattle.
WATANABE
Yes, this is what I wanted to ask
you.
WRITER
But WATANABE
It took me a long time to save this
money, but what I mean is that now
I can spend it.
During the following speech, shots intercut between the two
men.
WRITER
I understand. Look, keep your
money. Youll be my guest tonight.
Leave it all to me.
He goes across to another table to get his bottle of whiskey;
he picks it up and comes back to sit down. He looks at
WATANABE very closely.
WRITER (CONTD)
You know, youre very interesting.
I know Im being rude, but youre a
very interesting person. Im only a
hack writer, I write trashy novels,
But youve made me really think
tonight.
He pours himself a glass of whiskey.
WRITER (CONTD)
I see that adversity his its
virtues - man finds truth in
misfortune; having cancer has made
you want to taste life.
He drinks the whiskey.

20.
WRITER (CONTD)
Man is such a fool. It is always
just when he is going to leave it
that he discovers how beautiful
life can be. And even then, people
who realize this are rare. Some die
without ever once knowing what life
is really like. Youre a fine man,
youre fighting against death thats what impresses me. Up until
now youve been lifes slave, but
now youre going to be its master.
And it is mans duty to enjoy life;
its against nature not to. Man
must have a greed for life. Were
taught that thats immoral, but it
isnt. The greed to live is a
virtue.
They have moved to the doorway; the sound of a train passing.
WRITER (CONTD)
Lets go. Lets find that life
youve thrown away. Tonight Ill be
your Mephistopheles, but a good
one, who wont ask to be paid.
He looks down at his feet.
WRITER (CONTD)
Look, we even have a black dog!
He kicks at the dog and it yelps; over this is the sound of a
celeste.
Cut to a close-up of a pinball machine, the ball bouncing to
the sound of the celeste.
Cut to the two of them in the pinball parlor.
WRITER (CONTD)
See this little silver ball? That
is you; thats your life. Oh, this
is a marvelous machine, a marvelous
machine that frees you from all
lifes worries; its an automatic
vendor of dreams.
Medium shot of them playing the pinball machine. WATANABE
looks very excited.
Wipe to the two of them in an enormous beer hall. They are
sitting with enormous steins of beer in front of them.

21.
The writer is just about to speak when trombones, apparently
part of a band, are suddenly extended over WATANABEs head as
he stands up. Deafening music begins.
Wipe to the streets; a number of fast pans follow the WRITER
and WATANABE through the crowds.
Shots from behind of blinding neon signs and from behind the
grille work of fences; a girl races up and snatches away
WATANABEs hat; he turns and tries to chase her, but the
WRITER stops him.
WRITER (CONTD)
No...girls are the most predatory
of all existing mammals. To get
that hat back would cost you more
than its worth. But, anyway, you
could buy a dozen new hats if you
wanted to. Now were going to buy
you a new hat to say goodbye to
your old life with.
Cut to them looking through an open-work screen into a small
bar.
Cut to them at the entrance of the bar.
Medium close-up of the WRITER stopping to shape WATANABEs
new hat.
Shot of them coming into the bar. From the record player can
be heard Josephine Bakers recording of Jai Deux Amours.
The LANDLADY and barmen stand smiling. She welcomes them,
says it has been a long time, and they sit at the bar.
WATANABE has his new hat in front of him; when she tries to
take it away from him, he, instantly suspicious, grabs it and
holds onto it. The WRITER laughs; she smiles.
Camera remains on the LANDLADY, in medium close-up; the
WRITER can be seen in the mirror behind her.
WRITER (CONTD)
Whats so funny? This man here has
gastric cancer.
LANDLADY
Then he shouldnt be drinking,
should he?
WRITER
Stupid - no, take a good look at
him. See, hes God and hes
carrying this cross called cancer.
(MORE)

22.
WRITER (CONT'D)
Most people just die the minute
they learn this, but not him; hes
different. From that moment on, he
started to live.
She smiles again and the camera turns from them and pans over
their gasses to the mirror behind the bar. WATANABE has put
his hat back on, but his head is resting against the bar.
WRITER (CONTD)
Isnt that right?
WATANABE slowly raises his head, looks at himself in the
mirror and suddenly smiles.
Wipe to a big glass-and-neon cabaret. The camera pans down
the great stairwell, up which the WRITER and WATANABE are
coming, forcing their way through the crowd. A couple is
dancing on the landing, very close together. WATANABE cannot
tear himself away from the sight; the WRITER pulls him on.
Cut to the top floor.
Cut to a close-up of the piano hammers playing Boogie-Woogie
music; a beer-drinking PIANO PLAYER, a dancing GIRL; she
takes WATANABEs hat, puts it on, dances around the room.
Close-ups of the piano keys: of the huge mirror which hangs
above the piano; of the girl dancing; of WATANABE following
her around the room; of the PIANO PLAYER, smiling from behind
the swinging bead curtain. WATANABE finally gets his hat
back; the girl goes off dancing, falls against the keys of
the piano, and the PIANO PLAYER turns.
PIANO PLAYER
You folks got any requests?
The girl comes over and sits on WATANABEs lap.
WATANABE
Life Is So short.
PIANO PLAYER
I beg your pardon...?
WATANABE
Life Is So Short.
He begins to sing.
WATANABE (CONTD)
Fall in love, dear maiden...

23.
PIANO PLAYER
Oh, that one - its an oldie, isnt
it? OK.
He rattles off an introduction, and then pours beer down his
throat; couples collect on the dance floor.
Cut to the dance floor as seen through the swinging bead
curtain. As it sways back and forth, the couples one by one
stop dancing, turning to look.
Cut to the GIRL, she is moving slowly away from WATANABEs
chair. The camera circles, in close-up, staying on WATANABE
as he sings.
WATANABE
Life is so short, Fall in love,
dear maiden, While your lips are
still red; Before you can no longer
love - For there will be no
tomorrow. Life is so short, Fall in
love, dear maiden, While your hair
is still black. Before your heart
stops - For there will be no more
tomorrow.
Tears stream down WATANABEs face. There is silence.
Suddenly, the WRITER stands up, springing into the frame.
WRITER
Thats the spirit!
He takes WATANABEs arm, pulling him out of the dance hall.
Cut to a strip-show, a woman dancing on a lighted platform,
slow, seductive music, the camera panning around her.
Cut to her feet as a garment drops. The camera moves towards
the WRITER and WATANABE, both looking at the girl above them.
They are both drunk.
WRITER (CONTD)
Thats not art. A strip-tease isnt
art. Its too direct. Its more
direct than art. That womans body
up there. Its a big, juicy steak;
its a glass of gin, a shot of
camphor; its hormone extract,
streptomycin, uranium...
WATANABE gulps.

24.
Wipe to the streets. Both are very drunk. WATANABE starts
across the road and is almost run over, but the car stops in
time. WATANABE takes off his coat as though he too were doing
a strip-tease. He stops the traffic. The WRITER comes and
pulls him out of the road.
Wipe to an enormous dance hall: a great crush of people
struggling on the dance floor, cigarette smoke rising from
the pack. The band is playing a mambo.
Cut as each section of the band strikes up: trumpeters,
trombonists, percussionists, standing against the massed
dancers.
Cut to WATANABE in the crowd, dancing with a GIRL who is
chewing gum. She is merely discomfited by the crush: he is
nearly frantic. The WRITER is almost asleep on his feet; his
GIRL pinches him; he opens his eyes and yawns.
Cut to a speeding car, the camera travelling alongside it,
reflections sliding over the surface. Inside are WATANABE,
the WRITER and two GIRLS. The reflections slide over the
window, past WATANABEs face. He looks very ill. One of the
GIRLS is putting on lipstick; then she carefully removes her
eyelashes. The other is counting a great roll of money.
WATANABE looks at them, then out of the window.
WATANABE
Stop the car!
GIRL
Stop the car! Stop the car!
The car stops. WATANABE opens the door and runs into the
shadows. The GIRL looks irritated.
WRITER
(Waking up)
Whats the matter, have we got a
flat?
GIRL
No, its your friend; hes probably
throwing up.
The WRITER gets out of the car. WATANABE is slowly coming out
of the shadows. In the distance, over a loudspeaker, comes
the sound of a mambo. There is the noise of a train. WATANABE
smiles - or tries to. He and the WRITER look at each other perhaps WATANABE is remembering what he heard in the
hospital, that when you begin to vomit you only have three
more months to live. Both men are now completely sober. They
get back into the car; the car starts.

25.
GIRL (CONTD)
What are you so gloomy about? I
hate gloomy people. Come on, lets
sing something nice and gay.
The GIRLS start singing as loudly as they can; WATANABE and
the WRITER stare straight ahead.
GIRLS
Come ona my house, come ona my
house. Im agonna give you
everything. Im agonna give you a
Christmas tree.
Dissolve to a street near WATANABEs house. It is day; he is
on his way home, still wearing his new hat.
Cut to a close-up of the hat, the camera then panning down to
his face.
TOYO
(Off)
Mr. Watanabe!
Cut to the street. TOYO, the office girl, is running up
behind him. He turns and she catches up with him.
TOYO (CONTD)
Your new hat almost fooled me.
He takes off his new hat.
TOYO (CONTD)
I was just looking for your house.
Are you going to work?
WATANABE
No.
TOYO
Do you have your seal?
WATANABE
No, its at home.
TOYO
I want to leave - and I have this
new job, so Im sort of in a hurry.
WATANABE
Come home with me, then.
Cut to them walking side by side.

26.
WATANABE (CONTD)
Why are you leaving?
TOYO
The work is so boring. Nothing ever
happens in that office. Ive stood
it for a year and a half now. The
fact that youve not been here...
She looks at his hat.
TOYO (CONTD)
...and your new hat - thats all
thats happened in a whole year and
a half.
Cut to the upstairs room of WATANABEs house. MITSUO is tying
his tie; his wife is standing next to him.
MITSUO
Anyway, just dont say anything to
him.
KAZUE
Ive nothing to say to him.
MITSUO
Now, dont act like that. After
all, its your fault. If you hadnt
started talking about his
retirement pay...
KAZUE
Why blame everything on me? You
were the one, if you remember, that
started talking about money that
night. He cant take his money with
him, you said.
MITSUO
Its funny, though. Just because of
that...he wouldnt start acting
like this, just because of that.
And hes always come home before.
Last night was the first time hes
ever stayed out all night.
KAZUE
Well, lets not talk about it
anymore - we dont know whats
wrong.
At that moment, they hear something. KAZUE runs towards the
stairs.

27.
Cut to the hall. TOYO and WATANABE are going into his room.
The MAID takes his hat and stands looking at it.
Cut to his room. TOYO takes his coat and puts it on a hanger.
He is watching her, then turns to the desk. She walks towards
him and puts her letter on his desk. As she walks around the
room, she sees the framed letter of commendation on the wall.
TOYO
Almost thirty years in that place,
think of it. It gives me the
willies.
She glances sideways at him.
TOYO (CONTD)
Im sorry.
WATANABE
Thats all right. You know, lately,
when I look at that letter, well, I
remember that joke you read out
loud in the office once. It was a
very true joke. Ive been there
almost thirty years and now I cant
remember one day, cant remember
one thing I did. All I know is that
I was always busy and always bored.
He bows his head. She looks at him, then she begins to laugh.
Finally, he joins her.
TOYO
Thats the first time Ive ever
heard you talk like that. I didnt
even know you could feel like that,
I really didnt.
She laughs and impulsively stretches out her hands, takes
his, shakes them. The door behind them opens and the MAID
appears with the tea. She stops dead.
Cut back to the room upstairs.
MITSUO
Now dont be foolish. I know that
uncle said the same thing, but I
just cant imagine him being in
love with such a young girl...
They sit on the bed.

28.
Cut to WATANABEs room. He is at his desk; the girl is
kneeling politely some distance away. He looks up at her over
his glasses.
WATANABE
But this is the wrong form.
He looks at her; she looks away; then he takes up his seal
and stamps her letter of resignation anyway. He hands it to
her; she smiles.
WATANABE (CONTD)
Are you going to the office today?
TOYO
Oh, yes. I have to turn this in.
WATANABE
If you wait a minute, Ill make my
absence report out. Would you take
it in for me?
TOYO
Why dont you go to work yourself?
Everyone in the office is talking
about it, they say its that time
of life. Are you really sick? You
do look pale.
WATANABE
No, I...
TOYO
Where do you go every day when you
pretend to be going to work? And
dont lie, either. Did you know
that Mr. Sakei cam here yesterday
to check on you?
She suddenly laughs.
TOYO (CONTD)
But, dont worry. After thirty
years, you deserve some kind of
rest. Im not going to talk about
you the way Mr. Carp did.
WATANABE
Mr. Carp?
TOYO
Thats just my name for him - but
he is just like a carp, you know.
(MORE)

29.
TOYO (CONT'D)
Full of airs, but he doesnt have
any backbone at all, and he always
acts so superior too - even with
me. Just because he makes two
hundred yen a month more than I do.
WATANABE laughs and she stands up, a bit embarrassed.
TOYO (CONTD)
Well, Ill be going now.
She takes the letters and gets her coat. He looks at her.
Cut to TOYO. She has two large holes in her stockings.
WATANABE
Wait, Ill go with you.
Cut to the upstairs window, from the outside. MITSUO and his
wife are looking out.
Cut to the front gate, WATANABE and TOYO are coming out, both
smiling.
Cut to the couple in the upstairs window, watching.
Cut to the couple below. She stops him, straightens his tie
for him.
Cut to MITSUO and his wife, She smirks; he looks down,
worried.
Cut to the staircase. The MAID is on her way up to share the
news.
Cut to the street. WATANABE and TOYO are walking and a waltz
tune, played by strings and celeste, can be heard, over.
TOYO
But youre very lucky, living in a
nice house like that. Why, at my
place we have three families living
in two rooms. You have a son, dont
you?
WATANABE
Where can I buy some womens
stockings?
TOYO
You want to buy some - they ought
to be selling them somewhere around
here.
(MORE)

30.
TOYO (CONT'D)
Theyre for your sons wife, arent
they? Someone told me she was very
pretty.
Wipe to a store. They are just coming out and she is holding
a pair of new stockings all wrapped up, and is smiling.
TOYO (CONTD)
Im so excited. Why, Id have to go
without lunch for three months to
buy these. But why did you get them
for me?
WATANABE
You had holes in your old ones.
TOYO
But that didnt make your feet
cold.
WATANABE
I just...
TOYO
I didnt mean that.
She turns and smiles.
TOYO (CONTD)
I appreciate it a lot - very much.
I only said that because I felt
embarrassed.
Suddenly embarrassed, she walks behind him, then, laughingly,
pushes him.
Wipe to a tea parlor. He looks at her, passes her his piece
of cake. She smiles and helps herself to sugar, putting in
lump after lump.
TOYO (CONTD)
Want me to tell you something?
Well, Ive given everyone in our
office a nickname. It was something
to do, so I wouldnt get bored.
Want to hear?
WATANABE
Yes.
TOYO
All right. Now, the first one is Mr. Sea-Slug. Now, who is that?
(MORE)

31.
TOYO (CONT'D)
Someone thats hard to pin down,
keeps squirming away.
He does not know. She giggles.
TOYO (CONTD)
Its Mr. Ono!
WATANABE smiles, nods.
WATANABE
Of course.
TOYO
Next is Mr. Drain-Cover. Think,
now. Someone whos damp all year
round.
WATANABE
Mr. Ohara?
TOYO
Thats right! And then theres Mr.
Fly-Paper. A very sticky person.
Come, you know. You dont? Mr.
Noguchi. And do you want to know
what I named Mr. Saito? He doesnt
have anything special about him and
yet hes the same all the time.
WATANABE
Saito? I dont know.
TOYO
Mr. Menu.
WATANABE
Menu?
TOYO
Yes, you know, like in cheap
restaurants. The menu is always the
same and its never any good.
The both laugh.
WATANABE
What about Kimura?
TOYO
I call him Mr. Jello because hes
so weak and wobbly. I gave you a
nickname too, but I wont say it.
(MORE)

32.
TOYO (CONT'D)
I wont because it wouldnt be nice
to.
WATANABE
Please do. I wouldnt mind. Anyway,
Id like it if you made it up.
TOYO
All right. Its...its Mr. Mummy.
She starts to laugh, then stops.
TOYO (CONTD)
Im sorry.
WATANABE
Thats all right.
She begins laughing again, then he starts to laugh too.
Wipe to outside the shop.
TOYO
Well, thanks for everything.
WATANABE
Do you have to resign today? Cant
you put it off until tomorrow?
Wont you stay with me today?
Wipe to a pinball parlor; he is teaching her how to play and
she is enjoying herself.
Wipe to an ice skating rink; she is teaching him how to skate
- they both fall down.
Wipe to a fun-fair, they are eating noodles and laughing.
Wipe to an ice cream shot she is eating; he smiles and gives
her his portion.
Wipe to a cinema; apparently a cartoon is on the screen,
because she is laughing and leaning forward in her
excitement; he is asleep beside her.
Wipe to a Japanese-style restaurant; they are having dinner.
TOYO
But you dont eat at all - and you
really do look exhausted.
WATANABE
No, I really enjoyed myself today.

33.
TOYO
But, you fell asleep in the movie.
You were snoring just when the best
part came.
WATANABE
Well, last night...
He pauses and she laughs.
WATANABE (CONTD)
I cant tell this to anyone, Im
ashamed to admit it, but the reason
why Ive been like a mummy for the
past thirty years...
She chokes on a glass of water.
WATANABE (CONTD)
...Oh, dont misunderstand, Im not
angry you called me a mummy. Its
true, and it couldnt be helped,
its just that...the reason I
turned into a mummy was...well, it
was for my sons sake. But now he
doesnt appreciate it. He...
TOYO
Well, you cant very well blame him
for that.
She smooths her new stockings.
TOYO (CONTD)
He didnt ask you to becomes a
mummy. Parents are all alike - my
mother says just the same thing.
She says:I have suffered because
of you. But, if you think about
it, well, I appreciate being born,
I really do; but I wasnt
responsible for it.
She pauses.
TOYO (CONTD)
But why are you talking about your
son like that to me?
WTA
Well, its just...
Close-up of TOYO breaking into a smile.

34.
TOYO
I know, you love him!
Close-up of WATANABE smiling.
Wipe to the street at night, WATANABE is returning home
alone. The sad music of the opening, now sounding even more
desperate.
Wipe to the interior of the house. WATANABE is sitting, head
bowed, at one side of the table; his son is reading the
newspaper on the other side; the wife is nearby, knitting.
MITSUO
It says here that the power
shortage will last for awhile.
WATANABE
Is that so?
Close-up of WATANABE, his head lowered, although he seems to
want to say something.
Close-up of the sons newspaper.
Close-up of the wife, busy with her knitting.
Close-up of WATANABE raising his head.
MITSUO
(Off)
It says here that this is the
warmest winter in thirty years.
WATANABE does not hear, then realizing that something has
been said, he looks up quickly.
WATANABE
Is that so?
Cut to all three of them. WATANABE leans forward. His hand
shakes as he puts his cup down.
WATANABE (CONTD)
If you dont mind, Id like to talk
to you for a few minutes. I wanted
to tell you earlier, but it isnt a
very pleasant story and...
MITSUO
I dont want to hear it.
He suddenly puts down the paper.

35.
MITSUO (CONTD)
Ive talked the whole problem over
with Uncle today, and he thinks
that it aught to be disposed of in
a businesslike way as well. For
example, I think that our right to
your property should be made clear.
WATANABE
Mitsuo!
KAZUE gets up and leaves the room. MITSUO leans forward.
MITSUO
Youve already spent over fifty
thousand yen on her - girls
nowadays!
WATANABE
Mitsuo, what are you...?
MITSUO
Father! We never meddle in your
affairs. Weve shut our eyes to
your going out every night and
doing I dont know what. I just now
made a practical suggestion. But
you must consider Kazue and her
familys position in this. The idea
- bringing a girl here, and holding
hands too. I was terribly
embarrassed when the housekeeper
told me.
WATANABE stands up. The camera pans with him as he hurries
across the room and over to the stairs. Fade out.
Fade in to WATANABEs office - his chair is vacant.
Cut to various scenes of the office workers talking to each
other, whispering, smiling, smirking. Someone comes up to ONO
and whispers. ONO, due to be promoted now that WATANABE is no
longer there, laughs indulgently. Over all of this, the voice
of the NARRATOR is heard.
NARRATOR
(Off)
The hero of our story has now been
absent for about two weeks, and
during this time, naturally,
various rumors, various surmises
have been repeated.
(MORE)

36.
NARRATOR (CONT'D)
All of these came to the single
conclusion that Mr. Watanabe had
been behaving very foolishly. Yet,
to Watanabe, these same actions
were the most meaningful of his
entire life.
Cut to the window of a toy factory. The machinery hums; the
windows rattle; the building shakes - toy rabbits are stacked
in boxes along the wall.
Cut to outside. TOYO and WATANABE are talking. She is wearing
a turban round her head and has obviously been working also, she is angry.
TOYO
This isnt the City Hall, you know.
You cant take a whole day to do
one hours work here. Every second
wasted mean less money.
WATANABE
Meet me tonight - just tonight.
TOYO
Im tired at night. Id rather
sleep. Besides, why do you want to
go out with me every night? Lets
just stop it. Its...its
unnatural.
WATANABE
Tonight - only tonight.
TOYO
No. This has to stop. Excuse me.
She turns and runs back into the factory. He walks away.
Cut to WATANABE alone among tables full of white mechanical
rabbits. A door opens and she joins him.
TOYO (CONTD)
All right, but tonight is
absolutely the last time.
Wipe to the second floor of a large and fancy coffee shop.
WATANABE comes in and sits at TOYOs table. In the rear, on
the balcony, is a big group of boys and girls. A record
player is playing Poldinis Waltzing Doll, and the boys and
girls talk excitedly as a large birthday cake is brought up
the stairs. TOYO looks at the couple next to them, then at
the birthday party, then she yawns. WATANABE looks at her,
leans forward.

37.
WATANABE
Lets talk a walk.
TOYO
No, thank you. After the walk would
be the noodle shop; and after that
would be the ice cream parlor.
Whats the use? I know Im being
ungrateful, but Im really bored.
We dont have anything to talk
about.
Cut to WATANABE, looking at her. He lowers his head.
TOYO (CONTD)
That look again...
Cut back to her, in a close-up.
TOYO (CONTD)
You make me nervous. Why do you pay
so much attention to me?
WATANABE
Its because...
TOYO
Because why?
WATANABE
Well, I just enjoy being with you.
TOYO
I hope it isnt love.
WATANABE
No, its not...
TOYO
Why dont you speak more clearly say what you mean!
Cut to WATANABE. He lowers his eyes. TOYO leans forward.
TOYO (CONTD)
Are you angry?
WATANABE
No. I dont know myself...
Close-up of him.

38.
WATANABE (CONTD)
...why I like being with you. All I
know is that...
Cut to both of them at the table. The record player begins
The March of the Wooden Soldiers.
WATANABE (CONTD)
...is that Im going to die soon. I
have gastric cancer.
Cut to a close-up of her.
Cut to a close-up of him - he presses his hand against
himself.
WATANABE (CONTD)
In here. You understand? I have
less than a year to live. And when
I found that out...then, somehow, I
was drawn to you. Once when I was a
little boy, I nearly drowned. It is
just that feeling. Darkness is
everywhere and there is nothing for
me to hold onto, no matter how I
try. There is only you.
Close-up of her - she looks very uncomfortable.
TOYO
What about your son?
Cut to a shot of both of them; TOYO with her back to the
camera.
WATANABE
Dont even talk about him. I have
no son; Im all alone.
TOYO
Dont talk like that.
WATANABE
You dont understand. My son is
somewhere far away, just as my
parents were far away when I was
drowning. I cant bear to think
about it.
TOYO
But what help am I.

39.
WATANABE
You...well, just to look at you
makes me feel better. It...it warms
this...
He looks down.
WATANABE (CONTD)
...this mummy heart of mine. And
you are kind to me. No, thats not
it. Its because you are so young
and healthy. No, it isnt that
either.
He rises, comes to her side of the table, sits down; she is
repelled, and tries to move further away.
WATANABE (CONTD)
You are so full of life and...and
Im envious of that. If only I
could be like you for one day
before I die. I wont be able to
die unless I can be. Oh, I want to
do something. Only you can show me.
I dont know what to do. I dont
know how to do it. Maybe you dont
either, but, please, if you can,
show me how to be like you.
TOYO
I dont know.
WATANABE
How can I be like you?
TOYO
But all I do is work and eat thats all.
WATANABE
Really?
TOYO
Really. That and make toys like
this one.
She has a toy rabbit in her pocket. She takes it out, winds
it up, puts it on the table in front of them; it hops towards
him; she picks it up, starts it over again.
TOYO (CONTD)
Thats all I do, but its fun. I
feel as if I were friends with all
the children in Japan now.
(MORE)

40.
TOYO (CONTD)
Mr. Watanabe, why dont you do
something like that, too?
WATANABE
What can I do at the office?
TOYO
Thats true. Well then, resign and
find some other work.
WATANABE
Its too late.
Cut to her looking at him.
Cut to both of them with the mechanical rabbit between them.
WATANABE (CONTD)
No, its not. Its not impossible.
A shot of him, with tears in his eyes. She is afraid; she
moves back - The March of the Wooden Soldiers gets louder.
He suddenly turns to her, smiling; she shrinks back.
WATANABE (CONTD)
I can do something if I really want
to!
He picks up the rabbit.
Cut to the boys and girls on the balcony, they are leaning
over the rail.
BOYS AND GIRLS
Here she comes! Happy birthday to
you, happy birthday to you!
Hurries past them down the stairs, the rabbit in his hand.
The girl, whose birthday it is, comes up the stairs, smiling,
while the others continue to sing Happy Birthday.
Cut to TOYO sitting alone. The birthday party is noisy and
happy but she doesnt turn to look. She stares straight
ahead. Fade out.
Fade in to the Citizens Section. ONO is coming into the
office, followed by SAITO, the camera panning with them.
ONO
Oh, hell resign soon enough - his
son was here asking about his
retirement pay.

41.
SAITO
Well, then youll be out new chief,
wont you?
ONO smiles, satisfied, yet trying to appear modest.
ONO
Its difficult to tell just yet.
He is about to hang up his coat, when they both see
WATANABEs new hat hanging there; they look towards his desk.
Cut to the desk. WATANABE is hunting for something, finds it
and sits down. ONO and SAITO look amazed. They both walk
towards WATANABEs desk. He looks up at them.
WATANABE
Here, Ono, take care of this.
He hands him a document on
RECLAIMING DRAINAGE AREA There is a notice attached
be forwarded to the Public
the notice.

which is written: PETITION FOR

KUROE-CHO WOMENS ASSOCIATION.
which says This petition is to
Works Section. WATANABE tears off

ONO
But this petition should go WATANABE
No, unless we do something about
it, nothing will ever be done.
Everyone will have to cooperate,
the Public Works Section, the Parks
Section, the Sewage Section - all
must cooperate. Now call me a car.
I must make an inspection and
prepare a report today.
ONO
But this will be difficult.
WATANABE
No, it wont, not if you are
determined.
The camera pans with WATANABE as he hurries to put on his
coat. The noon siren is heard. ONO hurries to follow but
WATANABE is already out the door.
Cut to outside where a light rain is falling. The door swings
to and ONO follows, worried. The sound of trumpets playing
the final cadence of Happy Birthday can be heard, over.

42.
NARRATOR
(Off)
Five months later, the hero of this
story died.
A picture of WATANABE on the funeral altar.
Cut to the entire altar. It is in WATANABEs room, which is
now almost unrecognizable in its funeral trappings.
Everything is still and there is very little movement. The
entire office staff is there, as well as the DEPUTY MAYOR,
and all of WATANABEs family. They are kneeling on cushions
laid out on either side of the altar.
Cut to outside the window, looking in. They are drinking
sak. The sound of a car driving up and stopping.
Cut to the DEPUTY MAYOR listening. MITSUOs wife gets up and
goes to the hallway.
Cut to the hallway. A group of reporters has gathered there.
REPORTER
Wed like to see the Deputy Mayor,
please, just for a few minutes.
Cut to the funeral room. ONO comes in and whispers to the
DEPUTY MAYOR.
ONO
Sir, those reporters...
Cut to the DEPUTY MAYOR politely leaving the room.
Cut to the hall.
DEPUTY MAYOR
Now just whats the idea - my
conscience is clear.
REPORTER
Are you sure? Weve been finding
out a few things.
2ND REPORTER
And though both you and the Parks
Section are claiming all the
credit, wasnt it really this
Watanabe who made the park?
DEPUTY MAYOR
He was Chief of the Citizens
Section; parks fall under the Parks
Section.

43.
2ND REPORTER
We know that, but what we want to
know is who did all the work? The
people around there all think it
was this Watanabe, and they think
it funny that he died there.
DEPUTY MAYOR
What do you mean?
3RD REPORTER
They think something funny is going
on. For example, in your opening
speech you didnt even mention
Watanabe. The people there say that
this wasnt right.
DEPUTY MAYOR
If it wasnt, what would have been,
then?
2ND REPORTER
Maybe it was a political speech.
The DEPUTY MAYOR tries to laugh. Just then, a flashbulb goes
off. His picture has been taken. He is disconcerted.
3RD REPORTER
And Watanabe was given a seat way
in the back and was ignored. These
people think that his dying like
that in the park means something.
DEPUTY MAYOR
Do they mean that he committed
suicide in the park? Deliberately
sat there and froze to death.
3RD REPORTER
Yes.
DEPUTY MAYOR
Things like that happen in plays
and novels. We happen to know what
killed Watanabe. It was gastric
cancer.
2ND REPORTER
Cancer?

44.
DEPUTY MAYOR
Yes, an internal hemorrhage. He
died quite sudden and he didnt
know that he was going to. If you
doubt me, Mr. Ono here will...
He indicates ONO, who is now standing beside him.
DEPUTY MAYOR (CONTD)
...Give them the name of the
hospital that made the autopsy.
Cut to the DEPUTY MAYOR politely coming back into the room
and sitting down. The sound on an automobile going away,
dying in the distance. ONO returns and sits down. There is a
silence; everyone feels rather uncomfortable. The DEPUTY
MAYOR takes a cup of sak.
DEPUTY MAYOR (CONTD)
The way that these reporters twist
the facts.
He drinks his sak, then turns to the others around him.
DEPUTY MAYOR (CONTD)
Its not nice to say, but they
truly fail to understand the
problems behind municipal projects.
They all bow, nod, smiling, agreeing.
DEPUTY MAYOR (CONTD)
They simply dont understand
organization. Now, that park, for
example. They seem to think Mr.
Watanabe built it all by himself.
But that is just silly. It is
probably rude of me to say this in
front of his relative, but Im
certain that Mr. Watanabe didnt
have this in mind - building a park
all by himself. Of course, he
worked very hard towards helping
and, I must admit, I was impressed
by his perseverance. But it was the
work of the section too.
All the section clerks nod in agreement.

45.
DEPUTY MAYOR (CONTD)
And, in any event, it is complete
nonsense for anyone who knows
anything about the organization to
say that the Chief of the Citizens
Section could go and build a park
all by himself.
Everyone nods.
DEPUTY MAYOR (CONTD)
Im sure that the deceased himself
would be amused.
Everyone laughs.
DEPUTY MAYOR (CONTD)
But, then, none of us are exactly
faultless, and in view of what I
said at the time, perhaps we should
have given more recognition to
those truly responsible, since the
park has now drawn so much
attention. For example, the Chief
of Parks...
That gentleman bows.
DEPUTY MAYOR (CONTD)
...and his superior, the Chief of
Public Works.
That gentleman also bows.
PUBLIC WORKS CHIEF
It is good of you to say that, sir,
but it is my belief that the Chief
of the Parks Section and myself
only pushed the plan, in so far as
paperwork was concerned. When I
think of his honors painstaking
efforts to bring this plan to
materialization, then I know that
it is the Deputy Mayor himself who
should be rewarded.
Everyone smiles and nods at this.
DEPUTY MAYOR
No, Ive been criticized criticized even for that speech at
the opening of the park. One of
them called it a political speech,
didnt he, Ono?

46.
He is about to say more when the HOUSEKEEPER comes in and
tells MITSUOs wife that some WOMEN from Kuroe-Cho have come
to pay their respects. A group of WOMEN, many of the same who
came to the Citizens Section before, now enter the room.
They do not wait to be invited, but walk directly to the
altar. Many are crying. They bow before the picture; they
light incense. A baby on the back of one of them starts to
cry.
Cut to MITSUO, looking at them.
Cut to his wife. It is not proper for her to remain standing
in the middle of the room and so she kneels.
Cut to a view of the entire room. The officials are
embarrassed and frowning: only one of them, KIMURA, is
affected; he puts his hands to his eyes as though to hide
tears. Then the WOMEN get up to leave the room. As the WOMEN
go, they bow to the other guests and only one, KIMURA, bows
in return. There is a lone silence.
Cut to WATANABEs picture.
Cut to a closer shot.
Cut to one even closer - the grain of the photograph is
visible.
Cut to a view of the entire room. The wife, who has seen the
women out, returns and sits down. The silence continues
unbroken. Then the DEPUTY MAYOR nods to the PUBLIC WORKS
CHIEF and the CHIEF OF PARKS. They kneel, bow to the shrine
and altar, bow to the family, then politely and carefully
take their leave. ONO, who has gone to see them out, returns.
ONO
Its cold, isnt it?
KIICHI
Have a drink.
He holds out a sak bottle.
KIICHI (CONTD)
Oh, Im sorry. This sak is cold,
Ill go and get some warm. How
about everyone getting together,
sitting a little closer together?
There is a general movement, almost a scramble. ONO
successfully gets the seat just vacated by the DEPUTY MAYOR.
Others must be content with lesser positions. Old OHARA
stands up too late, looks for a seat on the other side;

47.
all are taken; he sits down, grumbling. Someone asks if they
had gone off to their conference.
KIMURA
Yes, they couldnt bear it here any
longer. Mr. Watanabe built that
park, no matter what anyone says.
And the Mayor knows it. Thats why
he...
ONO
Now, youre going to far. Mr.
Watanabe just...
CLERK
Its not just because Im in the
Parks Section, but I know that our
section planned and carried out the
whole thing.
KIMURA
Thats not what I mean.
SAITO
Thats all right. We know how you
feel, but why should the Chief of
the Citizens Section try to build
a park anyway? It is outside
his...his sphere of influence.
NOGUCHI
Anyway, no on built that park. It
was just a coincidence. And no
councilor would have done anything
about it anyway, if it hadnt been
that elections are coming up.
KIMURA is about to say something but NOGUCHI continues.
NOGUCHI (CONTD)
And if it hadnt been for all the
graft, come to think of it, work
might not have gone so smoothly
either.
OHARA
I just cant understand it.
He shakes his head, talking as though to himself.
OHARA (CONTD)
Why should Mr. Watanabe change so he changed so suddenly.

48.
ONO
Yes, it was strange.
SAITO
Thats it. Now that I think of
it...Mr. Watanabe knew about his
cancer. Thats why.
Cut to ONO as he turns to MITSUO, who has just returned with
more sak.
ONO
We were just speaking of your
father - did he know he had gastric
cancer?
MITSUO
If he had, he would certainly have
told me. I think that father was
very fortunate in knowing nothing
about it. After all, to learn
something like that is just like
getting a death sentence.
KIICHI comes back into the room.
ONO
Then Saitos theory is wrong.
KIICHI
Whats that?
ONO
Mr. Watanabe changed so in the last
five months, and he cant
understand why.
KIICHI
Oh, that. It was because of a
woman. You know, often an older man
tries to hold onto his youth by
keeping a mistress. His complexion
gets better, his eyes get
brighter...
His wife is looking at him.
KIICHI (CONTD)
...Anyway, I think he was keeping
some woman.
ONO
Well, he did take to wearing a
rather elegant hat.

49.
There are smiles and nods at this. SAITO turns and looks at
the picture of WATANABE on the altar.
SAITO
That hat. It really surprised me.
Cut to the conclusion of the former scene, where WATANABE has
handed the report to ONO. The dialogue is as before.
ONO
But this will be difficult.
WATANABE
No, it wont, not if youre
determined.
The camera pans with WATANABE as he hurries to put on his
coat. The noon siren is heard.
ONO
But Cut to a vacant lot in Kuroe-Cho; it is raining. WATANABE
walks round in the rain, through mud, looking at where the
playground will be. One of the women runs up to him carrying
an umbrella, holding it over him.
Cut back top the funeral room.
SAITO
He seemed to be trying so hard. It
just wasnt natural.
ONO
Well, thats true. Yet you know, it
is hard to believe, that just the
influence of a woman could have...
KIICHI
But...
TATSU
Dont.
OHARA
I just cant understand it.
PARKS CLERK
Well, there was a time when Mr.
Watanabes effort made things very
difficult.

50.
SEWAGE SECTION CLERK
Youre right, but what I cant
understand is why a man who had
been an official for the last
thirty years should KIMURA
Thats because PARKS CLERK
And he really shouldnt have gone
around trying to talk all the other
sections into it like that.
Naturally, they didnt like it - my
chief in particular. He felt that
the parks were all his own
responsibility.
Cut to the Section of Parks. WATANABE is offering a petition.
The CHIEF OF PARKS turns wearily.
CHIEF OF PARKS
Now, we have many park projects.
WATANABE
Please. The conditions here are
terrible.
CHIEF OF PARKS
But it just isnt as easy as your
plan here makes it seem.
Cut to the same location, some time has apparently passed.
WATANABE is sitting to one side; the CHIEF OF PARKS is trying
to work, but cannot. He keeps glancing at WATANABE, who is
sitting there, his head bowed. Finally, the CHIEF OF PARKS
takes the petition and, with deliberation, stamps it and puts
it in the out-going basket, then turns and looks at
WATANABE, who does not move.
Cut back to the funeral.
SAITO
Mr. Watanabe just hung on until the
Chief finally gave in.
PUBLIC WORKS CLERK
Now that you say so, it was just
the same with my boss. That
Watanabe, he just wouldnt give in.
Why, my chief used to turn and run
when he saw him coming.

51.
Cut to a corridor in the City Hall. The PUBLIC WORKS CHIEF
sees WATANABE coming, turns and hurries away, but it is too
late: WATANABE has seen him and starts after him.
Cut to the funeral - most of the men are getting drunk.
SANITATION CLERK
But what surprised me most was the
way that he, a big chief like that,
acted towards clerks like me.
Cut to the Sanitation Section. WATANABE is going up to each
member of the office and bowing. Each must stand and return
his bow. With each bow, WATANABE murmurs Please as the
embarrassed clerks bow back.
SANITATION CLERK (CONTD)
(Off)
And we finally gave in to.
Cut to the funeral.
PUBLIC WORKS CLERK
We all felt sorry for him.
NOGUCHI
But it was you General Affairs
Section people that gave him the
most trouble.
GENERAL AFFAIRS CLERK
Oh, you think so?
ONO
Its true. I went round with him
for almost two weeks. Ill never
forget it.
GENERAL AFFAIRS CLERK
Im sorry, sir.
SAITO
But what surprised me most was that
incident when...
SAKEI
Oh, that. That was really
surprising.
Cut to the stairway leading past the Citizens Section.
WATANABE is walking at the head of an number of women, the
wives from Kuroe-Cho. He goes directly up the stairs, his own
clerks staring at him.

52.
In the corridor at the top, he takes off his coat, gives it
to one of the women to hold, and goes into a door marked
DEPUTY MAYORS OFFICE.
Cut to the funeral.
ONO
And that wasnt all.
SAITO
What happened in the Mayors
office?
ONO
Well, I just doubt that anyone ever
stood up to the Mayor like he did.
Cut to the DEPUTY MAYORs office. WATANABE is bowing; ONO
stands behind him.
DEPUTY MAYOR
I personally dont mind you pushing
this park project through like
this, but some people might think
that you were looking for
publicity. The City Council has a
lot of problems. It would be best
if youd just forget about it.
This taken care of, he turns back to his friends and
continues an apparently interrupted conversation.
DEPUTY MAYOR (CONTD)
And so I attended that party last
night, but, really, the geisha
nowadays are no good at all. One of
them didnt open her mouth all
night, and later I heard that shes
a geisha only at night, its a kind
of sideline.
FRIEND
How amusing!
WATANABE
Would you please reconsider?
WATANABE has gone on bowing. ONO is trying to make him go.
The DEPUTY MAYOR turns, incredulous; his friends look up.
DEPUTY MAYOR
What did you say?

53.
Cut to WATANABE. He is bowing, yet looking the DEPUTY MAYOR
full in the face.
WATANABE
About that park.
Please...reconsider.
Cut to the DEPUTY MAYOR staring at him.
Cut back to WATANABE, staring, and ONO trying to pull him
away.
Cut back to the funeral. There is silence, then laughter.
Most of the men are now really drunk.
SAITO
Yes, judging from the results, it
wasnt such a bad plan.
SAKEI
No, it was dangerous. Just think of
all the...the spheres of influence
at the City Hall.
Cut to KIMURA.
KIMURA
But the Mayor reconsidered, didnt
he?
NOGUCHI
Oh, that. It was some councilors
idea. He made him do it. The whole
thing was a sort of accident, you
see, a kind of coincidence - youre
just sentimental, thats all.
There is some laughter at the word sentimental.
SAKEI
Yes, thats it, sentimental.
KIICHI
I dont think so. If you cant try
to understand a man like Mr.
Watanabe without being thought
sentimental, then the world is a
dark place indeed.
NOGUCHI
And so it is - very dark.

54.
KIMURA
I dont know what it was that was
keeping Mr. Watanabe alive, but
sometimes I was almost afraid for
him.
Cut to a corridor in the City Hall. KIMURA has stopped at the
top of the stairs and looks at WATANABE in the far distance.
He is leaning against the wall, with apparently no strength
left. Then, very slowly, he pushes himself along the wall in
the direction of the DEPUTY MAYORs office.
Cut to a close-up of WATANABE.
Cut back to the funeral.
PARK SECTION CLERK
And, come to think of it, there was
that day at the park site.
Cut to the park site. Dust, gravel, a leveller. It almost
runs over WATANABE. One of the women hurries up, pulls him
back. She and several others take him to one of the houses,
offer him a glass of water. He takes it and drinks some
water.
Cut to a close-up of WATANABE looking at the park site.
PARK SECTION CLERK (CONTD)
(Off)
When he looked at that park...
Cut back to the funeral, the CLERK speaking.
PARK SECTION CLERK (CONTD)
...his face just glowed. It
was...well, it was like a man
looking at his own grandchild.
KIMURA
Naturally, it was just that to him.
ONO
So, thats why...
KIMURA
Thats why, no matter what anyone
says, it was Mr. Watanabe who built
that park.
NOGUCHI
But if the Mayor and the councilors
hadnt done anything, there
wouldnt have been any park.
(MORE)

55.
NOGUCHI (CONT'D)
He just didnt take into
consideration all of those...those
spheres of influence up above.
ONO
Oh, I wouldnt say that.
NOGUCHI
No?
ONO
You remember what happened? With
that big combine that wanted to put
up a cabaret where the park is?
Cut to a corridor. WATANABE and ONO are walking along it.
Several men are lounging against the wall. One steps forward,
taking off his dark glasses.
MAN
You chief of the Citizens Section?
WATANABE
Yes, I am.
MAN
Wanted to see you. Look, mister,
just dont poke your nose in
anymore, OK?
He smiles, flicks WATANABEs lapel; WATANABE looks as him.
WATANABE
Why? Who are you?
The MAN grabs the lapels of WATANABEs coat, tightens his
grip.
MAN
Dont act stupid, Im telling you,
see? You just cut it out and dont
do anything dumb anymore.
Cut to WATANABE. He is smiling.
Cut to the group; the MAN releases him. WATANABE turns to go
into the DEPUTY MAYORs office. Just then, another MAN,
obviously one of them, comes out and looks at WATANABE.
MAN (CONTD)
This is Watanabe - remember him,
He stares hard at WATANABE, who smiles back, and then goes
into the office. The gang begins to move off.

56.
ONO stands looking after them. The second MAN - the
threatening killer - turns and looks at ONO, who turns and
hurries into the office.
Cut to the funeral. Everyone is now drunk. Old OHARA is
thinking, his head to one side.
OHARA
But its strange. I just cant
understand why he changes like that
- he must have known he had cancer.
ONO suddenly sits up, drunk, makes a gesture.
ONO
I just remembered!
Cut to a staircase in the City Hall. ONO is obviously
lecturing WATANABE, who leans, drawn and tired, against the
railing.
ONO (CONTD)
Now, this is too much. Youve been
doing this for two weeks now. The
least they could do is tell you
whether they have the money or not.
And the way they treat you. At
least they could do it nicely - it
should make you angry to be
insulted this way.
WATANABE
But it doesnt. I dont have time
to be angry with anyone.
He goes on down the stairs.
Cut to the funeral. A general commotion, each person
remembering something.
ONO
And then...
SAITO
Now that you mention it, I remember
once when...
Cut to a bridge above the park site. It is sunset. WATANABE
and SAITO are walking across it.
WATANABE
Oh, how beautiful...
He looks up.

57.
WATANABE (CONTD)
...For thirty years I have never
watched a sunset. Now theres no
more time.
Cut back to the funeral.
SAITO
Its all clear now...
NOGUCHI
He knew he didnt have long to
live.
SAITO
That clears everything up, explains
everything. Now I understand why he
acted that way, it wasnt strange
at all, it was normal.
ONO
Wed all do the same thing
ourselves.
Cut to KIMURA.
KIMURA
Well all die ourselves one day.
A general shot of the group. A pause, then OHARA moves
forward.
OHARA
Look here, Ono. Now, I dont mean
that...I mean Mr. New Chief of the
Citizens Section, thats what I
mean. Look here, cant you hear me?
Cut to ONO, drunk, pleased, and irritated, all at the same
time.
ONO
I havent been appointed yet.
OHARA
All right then, Ono, what did you
just say? That wed have done the
same thing ourselves? Dont make me
laugh.
He drunkenly points to ONO.

58.
OHARA (CONTD)
You fellows couldnt do what Mr.
Watanabe did. Dont make me laugh.
Me, I only went to night school,
and thats why Ill never be chief
of any Citizens Section. But, you,
Ono, someone like you! Well, just
dont make me laugh.
SAITO tries to stop OHARA; then, struck with a sudden
thought, stops.
SAITO
Compared with Mr. Watanabe, all of
us are just...
OHARA
Were trash, thats what, trash.
And youre trash too.
SAKEI
Were all trash. Oh, there are some
fine men at the City Hall, but
after youve worked there for a
long time, it changes you.
NOGUCHI
Yes, thats the place where you
dont dare even think. If you do,
youre dangerous. You must only act
as though youre thinking and doing
something.
PUBLIC WORKS CLERK
Thats right.
GENERAL AFFAIRS CLERK
Yes, thats right.
SAITO
You cant do anything. Why, to get
permission for a new trash-can, you
have to make out enough documents
to fill up that trash-can.
SAKEI moves forward excitedly, then suddenly begins to cry.
SAKEI
And you have to put your seal on
everything; stamp, stamp, stamp!

59.
NOGUCHI
The way we live is by stealing time
- people complain about official
corruption, but thats nothing
compared with our criminal waste of
time.
ONO crawls on all fours into the middle of the room and waves
his arms.
ONO
Listen, fellows! I know how you
feel. I think about it too, but
what can you do with such a big
organization - anyway, theres time
to think.
OHARA
You fool!
They all look round at him.
SAITO
But, look, Ohara. In this
organization where you cant do
anything, Mr. Watanabe did
something, and he did it because he
had cancer.
SAKEI
Thats just what I wanted to say.
He begins sobbing.
NOGUCHI
Oh, it makes me mad.
SAKEI
Me too!
NOGUCHI
And Mr. Watanabe never got any
reward at all.
They are all crawling about on the floor.
SAITO
Oh, but when I think of what Mr.
Watanabe must have felt...
NOGUCHI
Whoever went and took the credit
isnt even human.

60.
OHARA
Oh, come out and say its the
Mayor.
NOGUCHI
Now, you be careful what you say.
There is a pause. SAKEI is crying softly.
SAKEI
But I just wonder what Mr. Watanabe
felt when he was dying out there
all alone in the park - just to
think of it makes me feel awful.
Most of the men begin to cry now. Among those who do not is
KIMURA.
Cut to WATANABEs picture on the altar.
Cut to the doorway. The MAID appears carrying WATANABEs hat.
It is now crushed and dirty.
MAID
Excuse me, but a policeman just
brought this. He found it in the
park.
Cut to a close-up of the hat in her hands. Everyone turns to
look at it.
MAID (CONTD)
And he said he wanted to come in
and pay his respects.
Cut. A young policeman comes in, bows, goes to the altar,
prays and then gets up to go.
KAZUE
Thank you for coming.
KIICHI
Wont you sit down and have a
drink?
He indicates a cushion and pours the POLICEMAN a cup of sak.
The POLICEMAN is ill at ease, takes the sak, puts it down.
He is apparently deciding whether to speak or not.
POLICEMAN
I...I saw him in the park that
night. It was about ten. No...
He looks at his watch.

61.
POLICEMAN (CONTD)
...it was closer to eleven, I
guess. He was sitting on one of the
childrens swings. I thought he was
probably drunk, but I didnt do
anything. If I had, then maybe all
of this wouldnt have happened. I
am truly sorry.
The POLICEMAN bows.
Cut to MITSUO looking at the hat, which he now holds.
POLICEMAN (CONTD)
But, he looked so, well, so happy.
How can I say it? And he was
singing...and it was in a voice
that, well, moved me.
Cut to the park. In the distance, behind a childrens maze,
is WATANABE sitting on a swing; snow is falling. He is
singing. The camera pans along the maze, tracking in nearer.
WATANABE
Life is so short, Fall in love,
dear maiden, While your lips are
still red; Before you can no longer
love - For there will be no more
tomorrow.
Dissolve to WATANABEs picture over the altar. The song
continues.
Cut to the funeral.
Shots of various faces.
Shot of MITSUO standing up. Overcome, he goes into the
corridor. KAZUE, followed by MITSUOs uncle, goes out to him.
MITSUO
And I found a box with my name on
it, on the stairs that night, and
in it were his bank book and his
seal, and his retirement allowance
papers.
KAZUE
He must have left them...
MITSUO
But that was bad of him! If he knew
he had cancer, why didnt he tell
us?

62.
He begins to cry; his uncles comes forward.
KIICHI
And his mistress, why didnt she
come to the funeral? Maybe there
wasnt any mistress.
Cut to a close-up of a packing-case. In it are the framed
letters of commendation, an alarm clock, and a white toy
rabbit.
Cut back to the funeral. The men are now sitting close
together, very drunk, very excited. During the scene, KIMURA
leaves them and goes to kneel in front of the altar, looking
up at WATANABEs picture.
SAKEI
We must work hard.
NOGUCHI
Yes, with the spirit that Mr.
Watanabe showed.
SAITO
We mustnt let his death be
meaningless.
ONO
Me - Im going to turn over a new
leaf!
NOGUCHI
Thats the spirit. Me, Im going to
work for the good of the public!
They are all shouting, waving their arms. Only KIMURA at the
altar is still and silent. Fade out.
Fade in to the Citizens Section as it was at the beginning
of the film, only that ONO is now at WATANABEs desk. SAKEI
deferentially, glancing back at the information counter,
comes to his side.
SAKEI
Excuse me, but they say that the
sewage water has overflowed in
Kizaki-cho.
ONO
Well, send them to the Public Works
Section.
Cut to KIMURA looking up sharply at these words.

63.
Cut to ONO, who stares back.
Cut to KIMURA. There is the noise of a chair being pushed
over as he stands up. ONO can be seen, glaring at him.
Cut to KIMURA. He slowly picks up the chair and sits down. As
he sits, the camera descends with him. His face is obscured
by the documents on his desk. It is as though he is being
buried alive in them.
Cut to SAKEI, apologetic at the counter.
SAKEI
Would you please go to the Public
Works Section with this?
Cut to the bridge above the park. It is sunset. KIMURA comes
across the bridge on his way home. He stops to look.
Cut to the park. Children are playing there and their mothers
call them in for dinner.
Cut to KIMURA watching them. He turns and starts off, the
camera panning with him. The top of the swing comes into
view. The tune Life Is So Short, played on a solo flute, is
heard, over. KIMURA walks away. Fade out.

THE END